This article focuses on a group of bilingual documentaries produced in the United States at the beginning of the twenty-first century that present stories of Cuban exile homeland return. These films are unique in that they turn away from the duelling narratives of revolutionary Cuba
and exile nationalism to express the interstices in which a more subtle and complicated Cuban transnationalism is being expressed. Attentive to the policies and attitudes that regulate U.S.Cuban exchange and its representation, the article offers contextualized readings of Our House in
Havana, Cuban Roots/Bronx Stories and 90 Miles. These documentaries challenge the exilic investment in a Cuba locked in the past, or in a dystopian/utopian anti-time, representing nuanced perspectives on CubanAmerican identity evolving in relation to contemporary Cuba, not in opposition
Our target readership includes students, teachers and scholars. The journal is written in English to maximize the opportunities for contact between academic disciplines such as Media, Film Studies, Latin American and Post-colonial Studies, as well as Hispanic Studies, thereby encouraging an inter- cultural and inter- disciplinary focus.